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Bay has Lorne scoring his films now cause they established a relationship on 13 Hours, and Bay didn't even want Lorne for that; he wanted Hans but he didn't want to go through the exhausting process of another Bay blockbuster so he brought in Lorne instead.<br>And even then, Hans still worked together with Lorne very closely on the project (Hybrid said he was there for all the meetings, helped with synth programming, etc)Of cause Balfe worked on it .That is why Bay now uses Balfeyou can absolutely hear the 13 hours temp track in Battlefield and We Have to GoNot to mention that Steve and Lorne structure their power anthems differently.<br>To me this score sounds like 100% SteveI wouldn't say so, Lorne stacks his ostinatos and rhythms on top of each other (see Blackwood, Last Man on the Moon) and shotguns piano writing all over his scores in addition to using it for almost any kind of emotional scene (see Manny, Duck Shoot, Brothers Theme from Hurricane Heist)
Well, if all we're using to distinguish Lorne is ostinatos and piano writing, then in that case, he's all over this film!The interesting thing is, that if Lorne did work on it, his work is indistinguishable from Steve's cause I hear none of his ostinatos or extensive piano writing.@Hybrid, a while ago I saw a rumor stating that Lorne Balfe ghostwrote this score and dismissed it as crap.<br>But looking at the credits I see some people from his team have been involved( his assistant Queenie Li as music coordinator, and Max Aruj and Steffen Thum did arrangements..)<br>Do you know why and to which extent he was involved or why his team worked on the score?This little gem of a score is one of my favourites of Lorne's smaller projects.<br>Got a great main theme and varying instrumentations of it throughout, plus he's using a real orchestra which is always good. (Check out The Heist, very upbeat jazzy piece)Balfe - for anything than bad TV? How much did you smoke tonight? The Mission score must have been a studio decision but Balfe should not be allowed anywhere near a (any) franchise - the dude is a headcase and a total copycat. Tell me one piece that Balfe did that is original?
Balfe - for anything than bad TV? How much did you smoke tonight? The Mission score must have been a studio decision but Balfe should not be allowed anywhere near a (any) franchise - the dude is a headcase and a total copycat. Tell me one piece that Balfe did that is original?Looking forward to what Ben's going to do with that movie.Hellboy coming by Sony Classical at 4/5/19Kung Fu Fighting (Celebration Time) on KFP3 also has a HZ credit despite again the booklet not crediting him for anything on it.I noticed that on Kung Fu Fighting here, Try on KFP3, and Here Comes the Sun on Bee Movie complete that there are primary composer credits on them (HZ, JP here, HZ on Try, Rupert on Here Comes the Sun) but both the film and booklet info doesn't credit them. Did they do ghost arranging/producing on them?
Lorne Balfe score for Fallout was perfection so would be perfect for a Chris Nolan film. He also has worked with him on Dunkirk and Inception.But I expect and hope Hans is doing the score .If Hans is notworking with Nolan then Lorne Balfe should do it .So... Can it be considered as the second CD? Or something like that?<br>If Nolan is not working with Zimmer, Ludwig Göransson would be a dream choice for me. I really think he is an up and coming composer capable of great things. <br><br>But of course, I rather Nolan stick with Zimmer.Ludwig Göransson
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Hans ZimmerSteve MazzaroSteven KofskyStephen Lipson
ComposerAdditional MusicMusic Production ServicesMusic Scoring Mixer
Widows
Label: Milan Records
Length: 36'50 (Score: 22'16)
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (574 votes)
  1. Marcus (3:24)
    Hans Zimmer
  2. We Have A Job To Do (2:33)
    Hans Zimmer, Steve Mazzaro
  3. Money (2:34)
    Hans Zimmer
  4. Perimeter Check (3:09)
    Hans Zimmer, Steve Mazzaro
  5. The Calm Before The Storm (1:39)
    Hans Zimmer, Steve Mazzaro
  6. The Job (4:58)
    Hans Zimmer, Steve Mazzaro
  7. Race Against Time (1:23)
    Hans Zimmer, Steve Mazzaro
  8. My Son (2:33)
    Hans Zimmer
  9. Wild Is The Wind - Nina Simone (7:00)
  10. Dice Game - The Cool Kids (3:11)
  11. The Big Unknown - Sade (4:21)
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nvictor reply Replies: 0 || 2019-01-10 14:24:23
love this small production! it's like a gift from Hans and team to score fans. or it's like them making a statement. or also like them trying to prove something. true, doesn't have a lot of music or composition moments. doesn't feel like a big production. but it is a very good score. i am learning a lot from it. but, well, my opinion might not be the same as everybody's. especially on this very forum : )

here's what i learned so far. you can make a good score with only few musical elements. this score has melodic cues (composed with the same theme from what i can tell) for the human aspect. and textural compositions for anything related to the "job". the only exception is the piano sequence for "calm before the storm". speaking of that, dark night also has a "calm before storm" cue. i need to go back and listen to that one to see how the musical elements differ. i could swear that DK "calm before storm" didn't have a piano. the catwoman theme is the only thing i can remember having a melancholic piano. so there is something to learn there.

the other thing i learned is that you can compose with non-pitched sound designs and textures. i know dunkirk already offered something similar but this does deeper. with widows, i can hear composition patterns with the textures and percussion instruments. it's like they composed first with instruments we know and expect. and then replaced them with percussions and textures? who knows? for example in "the job" cue, there that one percussion instrument that i heard only once. i mean it sounded once in a 5-minutes cue. it could be a mistake. but it could be deliberate as well. that's what is exciting for me about this score.

in sum, this is a score for long time fans and people who are learning this stuff. others who are expecting big moments and grandiose orchestral techniques won't be happy. but if you have been following for a while, you will notice the subtleties and i keep finding new things. being short is actually good for learning purpose as well : )

speaking of teaching material, would be awesome we get another sketchbook cue. the man of steel one is the best gift ever given to us.

Michael Fields reply Replies: 0 || 2019-01-07 05:20:54
BOOKLET CREDITS:

Music Composed By
HANS ZIMMER

Soundtrack Album Executive Producer
STEVE McQUEEN

Additional Music By
STEVE MAZZARO

Music Production Services
STEVEN KOFSKY

Music Editor
CLINT BENNETT

Technical Score Engineers
CHUCK CHOI
STEVEN DOAR

Synth Programming
HANS ZIMMER

Orchestrated By
SHANE RUTHERFOOD-JONES

Orchestra Contractor
ISOBEL GRIFFITHS

Music Preparation
JILL STREATER

Overdubs Engineer
NICK TAYLOR

Assistant Overdubs Engineer
OLLY THOMPSON

Air-Edel Studios Bookings
TOM BULLEN

Conducted By
ROBERT ZIEGLER

Violins Leader
THOMAS BOWES

Cello Leader
CAROLINE DALE

Double Bass
ANDY PASK
MARY SCULLY

Percussion
LUIS JARDIM

Score Recorded By
NICK WOLLAGE

Pro-Tools Recordist
CHRIS BARRETT

Assistant Score Engineer
LAWRENCE ANSLOW

Air Studios Bookings
ALISON BURTON

Score Mixed By
STEPHEN LIPSON

Additional Score Mixed By
NICK WOLLAGE

Studio Manager For Remote Control Productions
SHALINI SINGH

Assistants To Hans Zimmer
CYNTHIA PARK
NICOLE JACOB

Digital Instrument Design
MARK WHERRY

Digital Instrument Preparation
TAUREES HABIB
RAUL VEGA

Album Mastered By
DAN HERSCH
At
D2 MASTERING LOS ANGELES

Album Produced By
HANS ZIMMER
STEVE MAZZARO

Music Legal Services
CHRISTINE BERGREN
CANDACE CARLO

Original Film Score Published By
REMOTE CONTROL PRODUCTIONS (ASCAP)

Hans Zimmer And Steve McQueen Would Like To Thank:
IAIN CANNING
EMILE SHERMAN
ARNON MILCHAN
JOE WALKER
IAN NEIL
EMMA ZEE
SAMANTHA JOLY
JAMES HARRISON
PAUL COTTERELL
GILBERT LAKE
ELISSA LOPARCO
DANIELLE DIEGO
REBECCA MORELATTO
BRIANNE PORCARO
JOHNNY CHOI
RACHEL DAVIS
URS HECKMANN
JILLIAN ABBOD
BEBE LERNER
RAE MURILLO And THE ID TEAM
RYAN OUCHIDA
JULIAN PASTORELLI
SETH WALDMANN
BRIGITTE ZIMMER
VICKI ZIMMER
SUZANNE ZIMMER
ZOE, JAKE, MAX & ANNABEL

Executive Album Producers For Milan Records
JC CHAMBOREDON
STEFAN KARRER

Production Manager
PABLO MANYER

Graphic Design And Layout
SHAWN LYON

Anonymous reply Replies: 1 || 2018-12-06 19:34:01
Widows Didn’t nominated for any categories of golden globes. I so disappointed


Mephariel2018-12-06 23:15:13
Didn't have enough music I think.

Mephariel reply Replies: 1 || 2018-11-16 08:17:44
Widows is actually a pretty interesting score. Not one of Zimmer's best from for an isolated listening experience standpoint, but as a textual score, I was engaged for the most part. The score effectively builds momentum throughout from beginning to end and I could feel the movie just by listening to the music.


Kalman2018-11-16 14:27:38
I haven't seen the movie yet but I like the score more with each listen. Not a classic Zimmer by any means but still an enjoyable listen at its short running time. Looking forward to the movie as well.

meta reply Replies: 5 || 2018-11-12 03:20:44
Not for nothing but it's kinda odd how Zimmer has been declining ever since, IMO, his collaboration with Wallfisch on Blade Runner 2049....

Honestly, I've been straying towards John Carpenter's Halloween 2018 and horror synth ever since....is Zimmer retiring or something? Because I'm finding myself not into him so much, anymore.


superultramegaa2018-11-12 03:54:41
I'm kind of the same way, even on a personal level. The synth and power anthems, even from the Media Ventures era, is just kind of getting old to me. The incessant momentum, the lack of thematic progression, it all wears on you eventually.


Edmund Meinerts2018-11-14 15:17:48
That collaboration was barely a year ago. This is literally Zimmer's first significant score since then. You can't deduce a pattern from two data points.


Mephariel2018-11-14 16:56:07
Plus, Blue Planet II came out last year. That score is as far from Widows as possible.


George2018-11-14 19:38:42
Yeah seriously, he hasn’t done much in a year plus. He’s definitely taken some time off for touring and other things, which may be a great thing for his inspiration... who knows, but I’m guessing the time off has let his brain take a break and maybe he has a ton of new ideas for the big 3 (WW:84, Dark Phoenix, Lion King) coming up in the next year and a half.

Or maybe I’m just hopeful/wishful thinking lol.


Jsdamian2018-11-15 00:14:15
And top gun:maverick....big 4

Hari Haran reply Replies: 2 || 2018-11-11 20:14:39
I honestly wasn't expecting much from this film on a musical level, but some tracks that are available are OK to listen to. McQueen has never been a proponent of larger-scale thematic music in his scores, he seems to be a mood-inspired person, and Zimmer can do that very, very well.

Coming back to the music, Zimmer seems to have embraced his textural roots. 2018 has been all about texture really in the action films, i.e. Black Panther's percussion layers, Mission Impossible: Fallout, Widows. Thematically, there seems to be a solemn progression for Marcus that reappears in "My Son", that relies on familiar elements (i.e. drone strings layered on top of each other, lower bass accompaniment), and some of the action textures in "We Have A Job To Do" and "Perimeter Check" is a nice callback to the Media Ventures style of things.

I'm admittedly disappointed with the fact that there is nothing beyond residually, well-anchored momentum and tension to the score,and the album length is shocking. But it is what it is. I love the underlying, throbbing synth bass ripples, I've always had a soft spot for them.

Honestly, it's a one time listen for me. I'm more excited about his dual superhero bonanza return next year- Wonder Woman 1984 and X-Men Dark Phoenix. I'm definitely not expecting him to use John Ottman's brilliant theme for the latter, although I will definitely be impressed if by slight chance, he does. The "Money" is quite soothing in a melancholy way. "The Calm Before The Storm" uses some worthwhile sombre piano treading that I'm always a stickler for.


mpolonest1232018-11-12 03:35:00
I think you really nailed how I feel about this score. I don’t personally mind the tense electronic elements (this is music that I can enjoy on its own level) but I do feel let down by the lack of a theme or any solid motif to anchor the music. Especially in the emotional cues.

The one thing that I keep coming back to is how this sounds so much like something Johann Johansson would have written. I actually really like his music style, but it is pretty jarring to see Zimmer do minimalism on this level. No objections here, but I can’t wait to get some exciting Zimmer music again.


Josiah2018-11-14 07:47:13
Well, if you check what Hans Zimmer did recently there wasn't much material for him to write a good theme too. A lot of it was types of movies that were synth type music. I think The Dark Phoenix and Wonder Woman (apart from his amazing theme for her already) will have some good typical Hans Zimmer feel to it which I am excited for.

Mike reply Replies: 14 || 2018-11-05 05:23:54
I'm going to assume this album is the whole score, based on Hybrid's comments?


Hybrid Soldier2018-11-05 12:31:19
It is...


Anonymous2018-11-05 16:59:51
so out of a 130 min movie we get 22 min of score. thats an hour and 48 minutes with no score.....


Max Potcats2018-11-05 17:45:09
That's right, but it's not necessarily a bad thing. The less music there is, the more powerful and meaningful it will be when there is. This is a very interesting decision IMO, can't wait to see the movie.


mpolonest1232018-11-06 02:43:49
Having only seen 12YAS, I have full confidence the film will be well done. Say what you will about his music choices, I personally think Steve McQueen is a brilliant filmmaker. If nothing else, the performances should be stunning.

And as far as the score goes, there are plenty of films which make use of silence or sound design without relying on music, so it’s definitely not uncommon.


Mephariel2018-11-06 06:53:10
No doubt McQueen is a great filmmaker and to be honest, his lack of music in his movies never bothered me.

It is crazy that Zimmer is working with 3 of the most talented auteur directors today: Nolan, Villeneuve, and McQueen.


...2018-11-06 12:20:24
The score is very dark. Kind of a thriller version of Dunkirk in places. a lot of rhythmic synths.


...2018-11-06 12:24:17
A lot of it sounds like a mix of the joker.


JamesT2018-11-06 15:51:07
Is that observation based on the one track The Job that’s been released or have you heard the remainder of the score?


...2018-11-06 16:56:14
No I've listened to the whole album. Marcus and My Son are slow and sad pieces for strings and, calm before the storm is kind of quiet with some piano but the rest is suspense like the joker with Dunkirk mixed in.

I am guessing it works great in the movie but as a standalone listen it's not one of Zimmer's most memorable scores.


mpolonest1232018-11-06 23:28:05
After one listen I can definitely tell this is something a lot of people won’t like outside of the context of the film. It’s a very “bare-bones” type of score.
You have the stretched note string music overlaid with ambience, and the grungy “Dunkirk/Joker” electronics.

Personally I like the action music here, regardless of how similar it is to Zimmer’s other scores. “Race Against Time” is particular intense. The emotional music, on the other hand, didn’t really do much for me. I am interested to hear it in context, but don’t go in with high expectations.


Mike2018-11-07 01:50:08
Really, now that I've heard it, this score just sounds like "Dunkirk — The Rejected Stuff." lol. That's saying nothing about how it does in context or whether it does what McQueen wants. But it definitely kind of just sounds like Hans had some leftover ideas from Dunkirk and used this movie for them.


Meta2018-11-07 02:02:13
NOte to John Carpenter:

NOW IS THE TIME. SEIZE THE DAY!


MrMayo2018-11-08 14:44:46
Not complete,that last song isn't going to be played by Sad,but going to be played by SADE..That's something else..I say.


Kalman2018-11-08 19:25:39
The tracks Marcus and My Son have some very strong Morricone resemblance. They're similar how the Italian Maestro usually introduces/builds up many of his slow and heartbreaking melodies. The difference is that Zimmer doesn't really build up a theme, therefore it sounds as a long introduction of a never written Morricone theme. Still, I like it.

Andreas reply Replies: 12 || 2018-10-25 20:02:07
track 6 already available: https://soundcloud.com/ milanrecords/thejob


mpolonest1232018-10-25 21:04:46
It sounds like a grungier Dunkirk, I’m interested in what the more “thematic” sound will be....


Edmund Meinerts2018-10-26 12:58:14
That description doesn't exactly inspire my confidence.


mpolonest1232018-10-26 15:36:24
@Edmund
It’s pretty much exactly what I expected this to sound like, going off of the reviews that mentioned the score beforehand. If I had to guess, half will sound like Dunkirk/TDK (the heist portions) while the other half will probably be more traditional Zimmer string writing.


Mephariel2018-10-26 16:47:37
Agree with mpolonest123.

I do really like the Shekere portion of the the cue "The Job." I think it adds a very unique touch to the music.


Jsdamian2018-10-26 17:41:10
I have confidence in the tracks 1,5,7,8


MrZimmerFan2018-10-26 19:02:41
Don't expected something orchestral, i got a feeling this score will be enteraily electronic


Mephariel2018-10-26 19:25:13
I think during an interview, Zimmer confirmed that there will be strings sections, so not 100% electronic.


Ahmad2018-10-27 02:13:33
Well, I think we know already that "orchestral" does not equal "thematic". He could have the players bang on their instruments with a toothpick (JK). :D

I really love this kind of stuff, so I enjoyed the track. Can't wait to see the film/hear the rest of the score.


Michael2018-10-27 13:07:02
Is Balfe involved ?Sounding very 13 Hours.


Mike2018-10-27 20:21:33
Zimmer produced 13 Hours...


Micheal 2018-10-29 00:05:20
Mike-is Zimmer on the cue sheet for 13 Hours ?


Mike2018-10-29 06:24:15
Actually, Hybrid said Hans did get credit for one cue on that score...

Scorefan reply Replies: 0 || 2018-10-28 20:10:22
@ Hybrid, this commercial edition will get all the music Zimmer wrote, i mean, the 20 minutes of all the score?

Jsdamian reply Replies: 8 || 2018-10-10 23:35:24
Waiting!!


Jsdamian2018-10-17 16:44:51
Nominated in Hollywood media award best score film.


michael2018-10-17 17:45:13
and the film has yet to open. who even nominated it? the people in the industry. they award themselves. goes to show how much of a sham it all is.


Mephariel2018-10-17 19:06:42
The film premiered at the Toronto International Film Festival back in September and was reviewed by like 50+ critics already.


michael2018-10-17 19:22:40
yeah. critics. who the hell nominated it for the music? the general public hasn’t even seen or heard it yet.


Iamtommie2018-10-17 20:24:48
FYC albums is the thing studios use for these kind of nominations.


Mephariel2018-10-17 22:02:10
I don't think you want the general public nominating film scores.


Jsdamian2018-10-18 00:00:29
It was also nominated for interstellar and the film had not yet been shown ... the most important thing is that there can be great music in this movie


michael2018-10-18 00:07:08
the likes of which well never hear outside of the film. our only hope is if someone gets the fyc album and shares it

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